The Year in Music - 1980 The Year in Music - 1980 Talking Heads on the cover of Rolling Stone; Olivia Newton-John; Elvis Costello & the Attractions Disco was dead, and the music industry floundered in 1980 looking for something to fill the void. Sales had been declining for years and 1980 continued that trend, with 34 million fewer units sold than in the year before. Major record labels were hurting; they responded by laying off employees --as many as 2,500 people in the industry lost their jobs. If any kind of music dominated this year it was pop. The original rock'n'roll crowd that had been teenagers in the Sixties were all grown up now, and the record companies tried to appeal to them with a safe, homogenized product. Peter Frampton was sounding more and more like Barry Manilow these days, while it became less easy to distinguish Fleetwood Mac from The Captain & Tennille. For those with vision, there was a new sound on the horizon, slowly making headway -- British New Wave, best represented by Talking Heads (Remain In Light) and The Pretenders (Pretenders).

But the record labels were not believers just yet, and their conservative approach left many innovative New Wave bands languishing for lack of support. The most creative music was coming off the streets, and a handful of its purveyors -- The Police,The Clash, Elvis Costello & The Attractions, Tom Petty & The Heartbreakers -- were pointing the way to the light at the end of the tunnel. Eventually the industry would see that light. But, in the meantime, "easy listening" pop briefly reigned. "The commercial cotton candy of the pop chart," lamented music critic Michael Gross, "was all too sweet for words." Just look at some of the hit singles of the year: "Magic," Olivia Newton-John; "Sailing," Christopher Cross; "Shining Star," The Manhattans; "All Out Of Love," Air Supply; "Lady," Kenny Rogers; "You've Lost That Lovin' Feeling," Hall and Oates; "I Can't Tell You Why," The Eagles; "Working My Way Back To You," The Spinners -- the list goes on and on.

(Perhaps the syrupy pop-rock of Air Supply best exemplified the formula for chart success in 1980.) Some of this was quite good, and without it elevator music would not be what it is today. But the music fan could not live long on white bread alone. Fortunately, some red meat was available. New artists were in the wings, artists who would blend pop and reggae and metal and punk and R&B and lay it over a big beat borrowed from disco and funk and thereby create a new sound for the Eighties. Madonna, U2, Prince & The Revolution, Duran Duran, Culture Club, Peter Gabriel, John Cougar Mellencamp and The Eurythmics were in the on-deck circle. Blondie's "Call Me" and The Knack's "My Sharona" were already dance faves in the teen clubs -- a preview of the music that Eighties youth -- a group largely dismissed by music execs this year -- would take to heart. And "Brass In Pocket" by The Pretenders was the first legitimate New Wave Top 20 hit in the U.S. The signs were everywhere.

Country music sales had been in decline, but were revived in 1980 thanks in no small measure to the popularity of the film Urban Cowboy. The so-called "Nashville Sound" -- pop-country tunes with lush arrangements that incorporated strings and synthesizers -- was in vogue. The leading purveyors of this sound included Kenny Rogers, a pop singer (formerly with First Edition) turned country crooner. This was a very good year for Rogers, whose 1979 album Kenny was certified platinum and the single "Coward Of The County" was a transatlantic chart-topper. Rogers scored again this year with "Lady," a ballad penned by Lionel Richie that would spend six weeks at US#1 while also topping the R&B, C&W and Adult Contemporary charts. Rogers walked away with an armload of Grammy and American Music Awards in 1980. Other top country artists: Eddie Rabbitt ("Drivin' My Life Away"), Johnny Lee ("Lookin' For Love") and Dolly Parton ("9 To 5"). Progressive country was expiring, and even "outlaws" Waylon Jennings and Willie Nelson had been appropriated by the Nashville establishment.

For several years to come the rhinestone crowd would dominate country sound, but soon there would be a move afoot to bring country music back to its roots. With the arrival of the video disc, industry prognosticators didn't need to be rocket scientists to predict that the video market was going to be one of the major developments of the Eighties. Gary Numan paved the way with the first rock video cassette in April 1980, beating out Blondie for that honor by only a matter of weeks. Digital recording became a viable alternative to analog recording with all its deficiencies inherent in recording sound on a tape coated with magnetic oxide. The digital recorder decoded magnetic pulses -- an electronic processing of information -- that solved the problem of imperfections in reproduced sound. In April, The Beat's "Mirror In The Bathroom" became the first British single to have been digitally recorded. Some of the year's most notable events In December, as the single "(Just Like) Starting Over" reached the Top 5 and his comeback album Double Fantasy climbed the charts, John Lennon was murdered by Mark David Chapman.

Though it flopped at the box office, Olivia Newton-John's musical fantasy flick Xanadu produced a soundtrack album that sold two million units and had three Top 20 singles. Paul McCartney spent ten days in a Tokyo jail after a small quantity of marijuana was found in his baggage. The "Wings" Tour was cancelled. In January Pink Floyd's The Wall would reach the #1 spot on the US album chart -- and stay there through April. The band's Dark Side Of The Moon was still on Billboard's album chart after 303 weeks, making it the longest charting pop album in history, unseating Carole King's Tapestry. Critics and audiences alike were turned off by Bob Dylan's born-again antics in concert and on his new album, appropriately entitled Saved. A Texas truck driver took hostages in the New York offices of Elektra/Asylum Records; his terms for their release -- that Jackson Browne or The Eagles finance his trucking operation. Bon Scott, notorious lead singer for the Australian heavy metal band AC/DC, died of alcohol poisoning.

Other deaths: Ian Curtis, lead singer with Joy Division (suicide); Tommy Caldwell, bass player for The Marshall Tucker Band (car wreck); Malcolm Owen, lead singer for The Ruts (drug-related); Jacob Miller of Inner Circle (car wreck); and Professor Longhair, New Orleans piano player and R&B legend, dead at 61. Queen's Magic Years videocassette cover; Billy Joel's Glass Houses album cover; Deborah Harry of Blondie Top Ten Singles 1. "Rock With You" - Michael Jackson 2. "Escape (The Pina Colada Song)" - Rupert Holmes 3. "Do That To Me One More Time" - Captain & Tennille 4. "Send One Your Love" - Stevie Wonder 5. "Coward Of The County" - Kenny Rogers 6. "We Don't Talk Anymore" - Cliff Richard 7. "Please Don't Go" - KC & The Sunshine Band 8. "Cruisin'" - Smokey Robinson 9. "Ladies Night" - Kool & The Gang 10. "The Long Run" - Eagles February 1. "Do That To Me One More Time" - Captain & Tennille 2.

"Rock With You" - Michael Jackson 3. "Crazy Little Thing Called Love" - Queen 4. "Cruisin'" - Smokey Robinson 5. "Coward Of The County" - Kenny Rogers 6. "Yes, I'm Ready" - Teri DeSario with K.C. 7. "Sara" - Fleetwood Mac 9. "On The Radio" - Donna Summer 10. "This Is It," - Kenny Loggins March 1. "Crazy Little Thing Called Love" - Queen 2. "Another Brick In The Wall" - Pink Floyd 3. "Desire" - Andy Gibb 5. "Working My Way Back To You/Forgive Me, Girl" - Spinners 6. "On The Radio" - Spinners 7. "Yes I'm Ready" - Teri DeSario with K.C. 8. "Him" - Rupert Holmes 9. "The Second Time Around" - Shalamar 10. "Too Hot" - Kool & The Gang April 2. "Another Brick In The Wall" - Pink Floyd 3. "Ride Like The Wind" - Christopher Cross 4.

"Special Lady" - Ray, Goodman & Brown 5. "Working My Way Back To You/Forgive Me, Girl" - Spinners 6. "With You I'm Born Again" - Billy Preston & Syreeta 7. "Too Hot" - Kool & The Gang 8. "I Can't Tell You Why" - Eagles 9. "Fire Lake" - Bob Seger & The Silver Bullet Band 10. "Lost In Love" - Air Supply May 2. "Lost In Love" - Air Supply 3. "Sexy Eyes" - Dr. Hook 4. "Ride Like The Wind" - Christopher Cross 5. "Don't Fall In Love With A Dreamer" - Kenny Rogers & Kim Carnes 6. "Funkytown" - Lipps Inc. 7. "Biggest Part Of Me" - Ambrosia 8. "Hurt So Bad" - Linda Ronstadt 9. "With You I'm Born Again" - Billy Preston & Syreeta 10. "Another Brick In The Wall" - Pink Floyd June 2. "Coming Up (Live At Glasgow)" - Paul McCartney 3. "The Rose" - Bette Midler 4.

"Biggest Part Of Me" - Ambrosia 5. "Against The Wind" - Bob Seger & The Silver Bullet Band 6. "It's Still Rock And Roll To Me" - Billy Joel 7. "Little Jeannie" - Elton John 8. "Call Me" - Blondie 9. "Steal Away" - Robbie Dupree 10. "Cars" - Gary Numan 1. "It's Still Rock And Roll To Me" - Billy Joel 2. "Coming Up (Live At Glasgow)" - Paul McCartney 3. "Little Jeannie" - Elton John 4. "Cupid/I've Loved You For A Long Time" - Spinners 5. "The Rose" - Bette Midler 6. "Steal Away" - Robbie Dupree 7. "Magic" - Olivia Newton-John 9. "Let Me Love You Tonight" - Pure Prairie League 10. "Tired Of Toein' The Line" - Rocky Burnette August 3. "Take Your Time (Do It Right)" - S.O.S. Band 4. "Emotional Rescue" - Rolling Stones 5.

"It's Still Rock And Roll To Me" - Billy Joel 6. "Upside Down" - Diana Ross 7. "Shining Star" - Manhattans 8. "More Love" - Kim Carnes 9. "Little Jeannie" - Elton John 10. "Fame" - Irene Cara 1. "Upside Down" - Diana Ross 2. "All Out Of Love" - Air Supply 3. "Fame" - Irene Cara 4. "Give Me The Night" - George Benson 5. "Lookin' For Love" - Johnny Lee 6. "Late In The Evening" - Paul Simon 7. "Another One Bites The Dust" - Queen 8. "Emotional Rescue" - Rolling Stones 9. "Drivin' My Life Away" - Eddie Rabbitt 10. "Sailing" - Christopher Cross 1. "Another One Bites The Dust" - Queen 2. "Woman In Love" - Barbra Streisand 3. "Upside Down" - Diana Ross 4. "All Out Of Love" - Air Supply 5. "Real Love" - Doobie Brothers 6.

"I'm Alright" - Kenny Loggins 7. "Drivin' My Life Away" - Eddie Rabbitt 8. "He's So Shy" - Pointer Sisters 9. "Late In The Evening" - Paul Simon 10. "Xanadu" - Olivia Newton-John / Electric Light Orchestra November 1. "Woman In Love" - Barbra Streisand 2. "Lady" - Kenny Rogers 3. "Another One Bites The Dust" - Queen 4. "The Wanderer" - Donna Summer 5. "I'm Comin' Out" - Diana Ross 6. "Master Blaster (Jammin') - Stevie Wonder 7. "Never Knew Love Like This Before" - Stephanie Mills 8. "He's So Shy" - Pointer Sisters 9. Dreaming" -Cliff Richard 10. "More Than I Can Say" - Leo Sayer December 2. "More Than I Can Say" - Leo Sayer 3. "(Just Like) Starting Over" - John Lennon 4. "Love On The Rocks" - Neil Diamond 5. "Hungry Heart" - Bruce Springsteen 6.

"Another One Bites The Dust" - Queen 7. "Master Blaster (Jammin')" - Stevie Wonder 8. "Guilty" - Barbra Streisand & Barry Gibb 9. "Hit Me With Your Best Shot" - Pat Benatar 10. "Every Woman In The World" - Air Supply Albums of the Year AC/DC | Biography & History | AllMusic google+ Artist Biography by Stephen Thomas Erlewine AC/DC 's mammoth power chord roar became one of the most influential hard rock sounds of the '70s, and is now one of the defining sounds of rock and metal. In its own way, it was a reaction against the pompous art rock and lumbering arena rock of the early '70s. AC/DC 's rock was minimalist -- no matter how huge and bludgeoning their guitar chords were, there was a clear sense of space and restraint. Combined with Bon Scott 's larynx-shredding vocals, the band spawned countless imitators over the next two decades and enjoyed commercial success well into the 2000s, scoring their biggest hits after Brian Johnson replaced the departed Scott .

AC/DC were formed in 1973 in Australia by guitarist Malcolm Young after his previous band, the Velvet Underground , collapsed ( Young 's band has no relation to the seminal American group). With his younger brother Angus serving as lead guitarist, the band played some gigs around Sydney. Angus was only 15 years old at the time and his sister suggested that he should wear his school uniform on-stage; the look became the band's visual trademark. While still in Sydney, the original lineup featuring singer Dave Evans cut a single called "Can I Sit Next to You," with ex- Easybeats Harry Vanda and George Young ( Malcolm and Angus ' older brother) producing. The band moved to Melbourne the following year, where drummer Phil Rudd (formerly of the Coloured Balls ) and bassist Mark Evans joined the lineup. The band's chauffeur, Bon Scott , became the lead vocalist when singer Dave Evans refused to go on-stage. Previously, Scott had been vocalist for the Australian prog rock bands Fraternity and the Valentines .

More importantly, he helped cement the group's image as brutes -- he had several convictions on minor criminal offenses and was rejected by the Australian Army for being "socially maladjusted." And AC/DC were socially maladjusted. Throughout their career they favored crude double entendres and violent imagery, all spiked with a mischievous sense of fun. The group released two albums -- High Voltage and T.N.T. -- in Australia in 1974 and 1975. Material from the two records comprised the 1976 release High Voltage in the U.S. and U.K.; the group also toured both countries. Dirty Deeds Done Dirt Cheap followed at the end of the year. In the fall of 1977, AC/DC released Let There Be Rock , which became their first album to chart in the U.S. Mark Evans left the band soon after, with Cliff Williams taking his place. Powerage , released in spring of 1978, expanded their audience even further, thanks in no small part to their dynamic live shows (which were captured on 1978's live If You Want Blood You've Got It ).

What really broke the doors down for the band was the following year's Highway to Hell , which hit number 17 in the U.S. and number eight in the U.K., becoming the group's first million-seller. AC/DC 's train was derailed when Bon Scott died on February 19, 1980. The official coroner's report stated he had "drunk himself to death." In March, the band replaced Scott with Brian Johnson . The following month, the band recorded Back in Black , which would prove to be its biggest album, selling over ten million copies in the U.S. alone. For the next few years, the band was one of the largest rock bands in the world, with For Those About to Rock We Salute You topping the charts in the U.S. In 1983, Rudd left the band after the recording of Flick of the Switch ; he was replaced by Simon Wright .

With Flick of the Switch , AC/DC 's commercial standing began to slip, and they weren't able to reverse their slide until 1990's The Razor's Edge , which spawned the hit "Thunderstruck." While not the commercial powerhouse they were during the late '70s and early '80s, the '90s saw AC/DC maintain their status as a top international concert draw. In the fall of 1995, their 16th album, Ballbreaker , was released. Produced by Rick Rubin , the album received some of the most positive reviews of AC/DC 's career; it also entered the American charts at number four and sold over a million copies in its first six months of release. Stiff Upper Lip followed in early 2000 with similar results. AC/DC signed a multi-album deal with Sony the following year that resulted in a slew of reissues and DVDs, and they returned to the studio in 2008 for Black Ice , an all-new collection of songs that was followed by the group's first world tour since 2001.

Two years later, the band's music was featured heavily in the action movie Iron Man 2, and a compilation was released in conjunction with the film under the title Iron Man 2 . As AC/DC began work on a new album with producer Brendan O'Brien in 2014, they announced that Malcolm Young was suffering from dementia and had left the band; his nephew Stevie Young took his place at the recording sessions and the accompanying 40th anniversary tour. Just prior to the December release of Rock or Bust , drummer Phil Rudd was arrested under charges of attempting to procure a murder, threatening to kill, and possession of cannabis and methamphetamine. Although the arranged murder charges were dropped, the other charges remained and the drummer's future with the band was uncertain. Nevertheless, AC/DC marched forward with the release of Rock or Bust and plans for a 2015 tour.

AC/DC's 'Back In Black' at 35: Classic Track-by-Track Album Review | Billboard AC/DC's 'Back In Black' at 35: Classic Track-by-Track Album Review Album Review 0 On AC/DC 's Back In Black, half the song titles would make badass tattoo slogans, and the other half are things you'd say to someone in a bar at 2 a.m. This alone doesn't make the album that special (the same is more or less true for many of the band's LPs), but considering what these guys had just been through, it's pretty amazing, if not inspirational. Released 35 years ago today, on July 25, 1980, the biggest-selling album by Australia's most exalted rock 'n' roll gods arrived less than six months after singer Bon Scott had been found dead after a night of heavy drinking.

AC/DC Delivers the Thunder at Coachella 2015 The remaining members could've called it quits, but they plugged back in and returned with 10 more songs about sex, booze, bad mojo, rock 'n' roll, and, in an indirect way, the irreplaceable frontman they'd somehow managed to replace. Taking the helm was Brian Johnson, a phlegmy English shrieker with a voice similar -- yet by no means identical -- to Scott's. Shortly after successfully auditioning for the gig, Johnson traveled with the band and producer Robert "Mutt" Lange -- who'd overseen the previous year's Highway to Hell, AC/DC's first entry on the Billboard 200 -- to Compass Point Studios in the Bahamas. Although everyone was feeling "a bit jittery," as lead guitarist and band mascot Angus Young told Rolling Stone , the band got down to business, emerging from those spring 1980 sessions with a mammoth-sounding record that referenced their recent loss without dwelling on it.

People look to AC/DC for hip-shaking and fist-pumping, not soul-searching; here, the group stayed true to its blunt, bluesy hard-rock steez while nudging the emotional needle just enough to acknowledge the situation. AC/DC Hits Spotify: 7 Lesser-Known Gems You Need to Hear Now Whether listeners picked up on this or were simply bowled over by the righteous riffs that fuel the album's two top 40 singles -- the title track and "You Shook Me All Night Long" -- Back In Black left a giant red smack mark on the backside of popular culture. It reached No. 4 on the Billboard 200 and has gone on to sell more than 50 million copies. According to the RIAA, it's the sixth-highest-selling album of all time, and with the possible exception of Led Zeppelin IV, it's the most rocking entry in the top 10. It's also the only one that metalheads, punks, stoners, skaters, sample-happy hip-hop DJs and just about everyone else can agree on.

If some fancy-pants CEO rolls into his driveway on a summer afternoon, and "Back In Black" is on the radio, there's a good chance he's high-fiving the landscaper. Read on for our track-by-track take on this timeless classic -- arguably the best representation of a band that detractors charge with making the same album over and over again, and that fans might reasonably defend for doing precisely that. If it ain't broke, don't fix it -- especially when it's unbreakable. "Hells Bells": With the opening bell tolls and moody Angus guitar intro signal mourning, this snarled-lip brooder isn't strictly a tribute to Scott. Asserting his place in the band, Johnson wails high and raspy, like Rod Stewart 's delinquent cousin. His lyrics are pure demonic posturing ("I'll give you black sensations up and down your spine/ If you're into evil, you're a friend of mine") -- the stuff hard-rock dreams are made of.

"Shoot to Thrill": Track two brings more Johnson bravado, only this time, he's in cocksure lover-man mode, warning all the ladies, "I'm the one who's gonna make you burn." Over a classic Phil Rudd drumbeat -- simple, slightly lagging, sexy as hell -- guitar-wielding brothers Angus and Malcolm Young deliver hard bluesy strutting in a way that's never overly showy. "What Do You Do for Money Honey": Johnson's not saying she's a gold digger… Actually, he is, and as the brothers Young again bring the sex-blues attack, the singer makes it clear he won't be squeezed for his cash. "Given the Dog a Bone": Probably the most blatant song about oral sex ever written, this mischievous rocker would be filler if the lyrics weren't so funny. "She's blowing me crazy," Johnson sings in the first verse, "'till my ammunition is dry." Spinal Tap couldn't have said it better.

"Let Me Put My Love Into You": Once more, Johnson uses weaponry as a metaphor for his junk, and when he gets to that "don't you struggle/ don't you fight" bit just before the chorus, a worrisome aggressiveness creeps in. But he does ask permission -- "Let me put my love into you, babe" -- and Angus woos with his sweet, pleading guitar solo. "Back In Black": Years before every resurgent rapper had his or her "I'm back" anthem, AC/DC reintroduced itself with one of the finest title tracks of all time. After a five-second lead riff that rivals the ones in "Iron Man" and "Smoke on the Water" for sheer air-guitar-inducing power, Johnson laughs his ass off as the hearse rolls by. The best way to mourn Scott's death: celebrating the holy hell out of living. "You Shook Me All Night Long": The band's first top 40 hit boasts a sleazy proto-"Start Me Up" riff and the kind of gargantuan pop chorus that would become Mutt Lange's trademark.

The lyrics -- which curiously change perspective, from "she…" to "you…" as the group reaches the hook -- are pure sex. Angus' solo is nasty and melodic, perfect for arenas, strip clubs, ballparks, wherever. "Have a Drink On Me": This bluesy thudder is a curious addition in light of Scott's recent "death by misadventure." Whether it's a tribute or a joke or just a song about boozing, the implication seems to be that AC/DC isn't finished raising hell. "Don't worry about tomorrow," Johnson sings to wrap the first verse, in which he references five different types of alcohol. "Take it today." The riffage is more serviceable than it is memorable, and that leaves Johnson to keep things interesting by pushing his larynx to the limit. In the closing bars, he howls like an off-brand Robert Plant , a golden god for the gutter set. "Shake a Leg": That slow opening is just warm-up for the Led Zeppelin heavy-blues sprint that begins in verse two and carries through the end.

Rudd and the Young brothers lock into a delinquent boogie, and Johnson -- again in Plant mode -- fights the law and gets his rocks off at the same time. "Rock 'n' Roll Ain't Noise Pollution": When a butt-simple blues riff meets an even simpler idea -- "rock 'n' roll is just rock 'n' roll" -- this explosive album fizzles to a close. It's a cool title in search of a song, though it hammers home a message AC/DC believes in vehemently enough to state over and over again, using slightly different language each time: "Rock 'n' roll ain't gonna die." Back In Black ï¿½ Tweet AC/DC - Back In Black If ever there was an album that created a triumph out of a tragedy, it was Back In Black. The band had slogged their way from town to town in Australia, weathered personnel changes as they honed the lineup into the perfect riffing machine, toured the world bringing their blue collar rock to an ever-increasing audience, and had finally been within sight of conquering the US with their most recent album Highway To Hell.

The album was released in June 1979 and instantly outperformed their four previous releases, staying in the US Billboard chart for some 83 weeks and peaking at #17, as well as gracing the UK album chart for more than 6 months. The title track alone justified the appointment of new producer Robert John ï¿½Muttï¿½ Lange, who had replaced Hendrix engineer Eddie Kramer before any tracks were laid down. With its combination of hard-hitting guitar riff, devil may care lyrics and mighty chorus, Highway To Hell was the quintessential AC/DC song, propelling the album to Gold in the US, (becoming their first million-seller and certified more than 6 times Platinum by 2011) and it seemed as though all the pieces had finally fallen into place for the band. Until one of the most vital pieces, wild and charismatic front man Bon Scott, died, in February 1980.

Always a committed and social drinker, he had been out for the evening to see Protex and The Trendies at the Music Machine venue in Londonï¿½s Camden Town, before being driven home by a friend, Alistair Kinnear, who lived in South London. Judged to be too intoxicated to move from the car, Scott was left there overnight, to be discovered dead the following afternoon, officially from inhaled vomit. Scott, previously the singer with Australian bands The Valentines and Fraternity, had hooked up with the earliest incarnation of AC/DC when he moved from Perth to Adelaide, and was instrumental in getting them their record deal. He was something of an older brother to guitarists Angus and Malcolm Young, who werenï¿½t nearly as wild as their stage show suggested. There were very few limits for Bon Scott (christened Ronald and nicknamed ï¿½Bonï¿½ as a contraction of ï¿½Bonnie Scotlandï¿½, his birthland), and his lyrics, including those for Highway To Hell, encapsulated the ï¿½live fast, and to the maxï¿½ philosophy that was making AC/DC the guarantee of a good time for rock lovers.

So the loss of Scott was a severe blow to the AC/DC camp, and could have been terminal for the band, if it wasnï¿½t for the natural toughness and resilience of the Young brothers, who, after a suitable period of stasis from shock, decided to at least get back into rehearsing as a form of therapy. Gradually, as they began to come to terms with their loss, they decided that keeping the band going was the best thing to do to honour Bonï¿½s memory. The songs were written, and had just been awaiting Bonï¿½s lyrics to complete them. So they started the very difficult process of deciding who was a fitting successor and in the process remembered a singer that Bon himself had tipped. Angus Young later recalled, ï¿½I remember Bon playing me Little Richard and then telling me the story of when he saw Brian singingï¿½. Scott had apparently reported: ï¿½There's this guy up there screaming at the top of his lungs and then the next thing you know he hits the deck. He's on the floor, rolling around and screaming.

I thought it was great, and then to top it off - you couldn't get a better encore - they came in and wheeled the guy off!' Ironically it wasnï¿½t actually Brian Johnsonï¿½s usual stage act; he was suffering from appendicitis and was in agony, later being rushed to hospital. After an audition, a disbelieving Johnson - who travelled 200 miles from his native Gateshead to London, only to be sidetracked from performing by playing pool with the road crew, already demonstrating his unpretentious character - was in. It only remained for Johnson to come up with some suitable lyrics for the band to start laying down some tracks, which they did in the Bahamas, at Compass Point studios. Mutt Lange was again at the helm, and although the Young Brothers made sure the performances were recorded in their trademark style, it canï¿½t be a coincidence that the album, like its predecessor, started to burn up the airwaves on release. With no disrespect intended to Bon Scott, Back In Black is the essence of AC/DC.

Brian Johnsonï¿½s more raspy vocal style, honed for years in North of England pop-rock band Geordie, seemed to create a new hard rock measure by which all others were judged ï¿½ one that was greater than the sum of the parts. Although the parts, individually, are rock-solid, Back In Black is not an album noted for its overdubs; it gives the impression of a recording of a band delivering on the first take on every song, at 100% of their power. Mutt Lange is of course renowned for his painstaking approach to recording, most memorably in his recordings with Def Leppard, which tended to span years. Back In Black, by contrast, was a speedy affair ï¿½ Bon Scott died in February 1970 and the album was released in August of that year ï¿½ but its two guitar / bass / drums and vocals sound has never been bettered.

At the time, there was much discussion about how to make recordings sound punchy on US car radios, and one of Langeï¿½s continuing strengths has been the creation of a sonic landscape that will make his tracks stand out, which certainly is the case with Back In Black: no special effects, not even a huge reverb-drenched drum sound ï¿½ just well-recorded guitars with plenty of space, and, as importantly, arrangements which save the kitchen sink for the choruses before dropping right back down to the essentials in the verses. In fact, itï¿½s remarkable how restrained Lange was in relation to the production, given that heï¿½d started his career as a songwriter, contributing a large portion of the material for early production clients like Supercharge, for instance, while his co-composing credit is all over the Def Leppard recordings. It is probably down to the iron will of the Young brothers that their single-minded vision has kept any producer from becoming more important than the essential AC/DC sound ï¿½ and rightly so. And so to the songs.

Brian Johnson was to quit writing the lyrics for AC/DC after the Blow Up Your Video album in 1988, but in his way he helped move them on, making the words more ambiguous, albeit only slightly, and rather tongue in cheek, although itï¿½s fairly obvious that to rock bands like AC/DC, rock music is synonymous with sex, drink, cars, gigging, and more sex. And why not? Hellï¿½s Bells is an apt opener, dealing with the darker aspects of existence. Stylistically, it showed that AC/DC had returned triumphantly, with more of the same, but somehow bigger. All the trademarks were there - Malcolm Youngï¿½s distorted Gretsch with layers of brother Angusï¿½ Gibson SG, deceptively simple but rock solid patterns from long-time member Phil Rudd on drums and only slightly more recent recruit Cliff Williams on bass, (previously of Home, Stars and Bandit), who made a virtue of simplicity. Over the whole thing sat Brian Johnsonï¿½s hoarse yelling, fitting right in.

There are memorable riffs, thereï¿½s plenty of light and shade, interesting chord changes over the solos and of course Angus Youngï¿½s anguished meld of Chuck Berry riffage, Eric Claptonï¿½s melodic sense and Paul Kossoffï¿½s tremolo, creating his unique and distinctive blend. In 3 minutes, AC/DC showed that they were back! BACK! B-AC-K! ï¿½ and with enough force to quell any doubts. The rest of the tracks maintain the same high standard ï¿½ no ballads, but no filler either, just slabs of rocking sound, honed from years of gigging, to produce possibly AC/DCï¿½s most consistent album. The first side of the original LP is plenty good enough: after Hellï¿½s Bells, we get Shoot To Thrill, What Do You Do For Money Honey, Given The Dog A Bone and Let Me Put My Love Into You, so anyone at the time looking for a value for money rock album would be happy enough.

But then you turn the album over, and, on the sixth song in, youï¿½re hit with one of the most popular guitar riffs of all time ï¿½ Back In Black, introducing a song that doesnï¿½t stop there, but continues into a complex array of riffs, chords, soloing and choruses that takes the album to a new level. And if you still donï¿½t appreciate the Young brothersï¿½ guitar playing, take a look at any of the many clips on YouTube of aspiring guitarists purporting to play the Back In Black riffs ï¿½ they canï¿½t play them like the Youngs. Then itï¿½s straight into You Shook Me All Night Long, one of the contenders for Top 3 AC/DC tune and as short as it is excitingly effective. And after another two piledrivers in Have A Drink On Me and Shake A Leg, the album wraps up with the call to arms of Rock n Roll Ainï¿½t Noise Pollution, although if you havenï¿½t been moved by the previous 9 tracks, youï¿½re deaf anyway.

The album put the new incarnation of AC/DC right to the top of the rock tree, where they have remained ever since. It topped the UK chart, followed by a Top 40 entry for You Shook Me All Night Long, which also became the bandï¿½s first US Top 40 single. In November 1980, Back In Black hit #4 on the Billboard album chart in the US, going on to sell 10 million copies there over the next ten years. And itï¿½s kept on going ï¿½ Back In Black is now in the Top 3 of worldwide album sellers of all time, having now sold an estimated 49 million copies worldwide. Itï¿½s the best-selling hard rock album of all time, and the best-selling album released by an Australian musical act (although Malcolm and Angus Young were born in Scotland, and Brian Johnson and Cliff Williams are British). Forget the sales, though, whatï¿½s important is that Back In Black rocks mightily from start to finish. MORE YOU MIGHT LIKE No. 4: AC/DC, ‘Back In Black’ – Top 100 Classic Rock Songs No.

4: AC/DC, ‘Back In Black’ – Top 100 Classic Rock Songs By Matt Springer April 29, 2012 6:50 PM REDDIT Sony It’s a lesser statistic, but somehow it speaks most loudly: AC/DC’s ‘Back in Black’ received the RIAA’s Master Ringtone Sales Award (Gold and Platinum) in 2006 and reached 2x Platinum status in 2007. It’s a Top 100 Classic Rock Song that is so omnipresent, so beloved, so kick-ass that millions want it to play every time they get a phone call. Certainly, that opening riff is one of the most recognized guitar bits of all time.

If there’s a certain type of guitar player who has to pluck out the opening notes of ‘Stairway to Heaven’ every time he picks up his axe, then there’s another type who’s just as likely to hit the signature BUM-ba-da-DUM-ba-da-DUM of ‘Back in Black.’ It’s gained a level of pop culture awareness that makes it instantly identifiable with a certain attitude — it’s appeared in films from ‘Iron Man’ to ‘The Smurfs.’ It screams “tough guy” or “bad ass” or “here comes trouble,” whichever you happen to need. So it’s a form of shorthand for filmmakers, and for us too, hearing it on the radio or the iPod. Admit it — ‘Back in Black’ comes up on shuffle, and you strut with your head held just a bit higher than normal. You aren’t looking for a fight, but you’ll take one if it comes. “Nine lives, cat’s eyes, abusin’ every one of them and running wild.” The ‘Back In Black’ album is one of the great titanic bestsellers of all time, currently at No.

3 on the list of best-selling albums worldwide, right behind ‘Thriller’ and ‘Dark Side of the Moon.’ Produced in 1980 as the band was coming to terms with the death of original lead singer Bon Scott , then-new lead singer Brian Johnson was asked to write lyrics for ‘Back In Black’ as a tribute to Scott. It’s sold an estimated 49 million copies. That’s one hell of a tribute. And when a record gets that deep into the collective consciousness, sure, it’s easy to ignore it, or take it for granted. It’s easy to forget its greatness. But it’s impossible not to listen when those chords blare out — from a movie soundtrack, a stereo, or a fast car driving by with the windows cranked as low as they’ll go. Those unmistakable, unstoppable chords — BUM-ba-da-DUM-ba-da-DUM. The period seems unnecessary. Tony Platt - record producer and recording engineer talks about recording Back in Black with AC/DC Tony Platt - special video interview at Townhouse Studios We are delighted to present a new broadband video interview with Tony Platt.

We have kept the archive interviews and these can be found further down the page but this video uses the recording of AC/DC's legendary Back in Black album as an example of how he works to make every album that he records special. Many thanks to Tony for taking the time out, to our amazing video crew and to Julie and Nikki at Townhouse Studios for making this possible. Tony is a leading member of the British Music Producer's Guild ( MPG ). Archive features and MPG features with Tony Platt George Shilling talks with Tony Platt, leading Music Producer's Guild director, at Great Linford Manor Studios, UK. Archive video shot way back in 1999 or it seems like it! Tony Platt’s career in the music business started at Trident Studios in London but he made his name as an engineer at the now legendary Island Studios. Working his way from assistant engineer to engineer on sessions with the likes of Free, Traffic, The Who, Rolling Stones, Sutherland Brothers, Led Zeppelin, Paul McCartney, Jess Roden and Mott the Hoople to he came to engineer albums for a hitherto unknown Jamaican artist, Bob Marley, which would launch reggae music into the mainstream for good.

This association led him to complete ”Funky Kingston” for Toots and the Maytals and work with several other notable Jamaican artists such as ZapPow, Lorna Bennet, Harry J’s All Stars, Aswad and The Cimarons. However, although Tony Platt’s reputation is principally based on his work in the world of rock, at Island he gained other more eclectic experience working on the numerous orchestral, commercial and pop sessions that came through the studio and some fairly eccentric projects including a 30 piece avant garde jazz band and an album consisting entirely of Tibetan bells ! After working with the various spin off projects from the recently disbanded Free - Sharks, Toby, Peace and Kossoff, Kirke,Tetsu and Rabbit and as engineer for Muff Winwood on the debut Sparks album Kimono in my House he finally left Island and turned freelance. Having recorded demos that prefaced deals for Thin Lizzy and the Stranglers he became engineer for Mutt Lange.

With Mutt, Tony worked on the AC/DC albums Highway to Hell and Back in Black, Foreigner - 4, Boomtown Rats - Fine Art of Surfacing and Broken Home and AC/DC asked him to mix the soundtrack on their documentary film and then to work with them on Flick of the Switch. When he joined the Zomba producer roster in 1980 Tony enjoyed immediate success producing and engineering the work of artists such as Samson (with Bruce Dickenson singing) & Iron Maiden, Krokus, Motorhead, Gary Moore, Cheap Trick, The Cult, Marillion , the list goes on. His philosophy has always been to enhance music by the use of technology . He has always kept very much apace with the rapid advances in audio and music technology that are taking place - from computers to the new breed of all digital consoles - and so is incomparably well placed to achieve this.

His constant desire to try new recording techniques and musical styles has led him to involvement with ambient artists Low Pass and industrial metal artists Die Krupps and Spine Grinder.This knowledge of combining recording techniques has been invaluable to a new progressive band such as Anathema and his respect for the value of a good song has contributed to the high quality of work from Flowers for Breakfast and Buzztonic . Never losing that touch for the basic approach though, he recorded two albums for Buddy Guy - the Grammy winning “Damn Right I Got the Blues” and the follow up “Feels Like Rain” More recently he has mixed an album for heavy indie rock band ‘Huge Baby’, worked on tracks with newly signed singer/songwriter Louise Dowd for Albert’s productions, AC/DC’s publishers and mixed an album for prog. rock band Terra Nova signed to JVC. He continues his work helping to develop Liverpool based rock band Deadline and has been producing vocals and mixing new tracks with Low Pass for BMG. Mixing has also just been completed on a revival album for 80’s heavy rock outfit Krokus and a single recorded and mixed for BMG artist Akira has just been released.

In conjunction with Bernie Marsden he is putting the finishing touches to some 3 hours of recordings with legendary New York bluesman Larry Johnson. Tony has also been at Rockfield Studios recording an EP with a young band from Kendall called Streem and at his ‘local’ studio Great Linford Manor with talent contest winners Fenside. Projects completed recently include "Fubar" featuring Canadian singer/songwrtier Gered Stowe for Luc Van Acker's new BMG hosted alternative label "les enfants terrible".

Development work is still in progress with Nottingham based "Dai Lo" and further tracks are soon to be recorded with pop/hop artists "Streem" Contact Tony via e-mail by clicking tp@platinumtones.com (a selection of the early days) 1973 Bob Marley & The Wailers “Catch A Fire” Eng Island 1973 Toots & The Maytals “Funky Kingston Eng Island !973 Bob Marley & The Wailers “Burnin’ “ Eng Island 1973 Sharks “Sharks” Eng Island 1974 Sparks “Kimono in my House” Eng Island 1974 Ducks Deluxe “ Ducks Deluxe” Eng RCA 1976 Aswad “Aswad” Prod/eng Island 1978 Cimarons “Live” Prod/eng Polydor 1978 Cimarons “Maka” Prod/eng Polydor 1979 AC/DC “Highway To Hell” Mix Atlantic 1979 Boomtown Rats “Fine Art of Surfacing” Eng/mix Ensign 1980 Broken Home “Broken Home” Eng/mix WEA

 1980 AC/DC “Back In Black” Eng/mix Atlantic 1980 Foreigner “ 4 “ Eng Atlantic (from Zomba onwards)

Question: Which pop group recorded the hit album 'Back In Black' in 1980?
Answer: AC/DC